A RT G A L L ER Y Collection of some greatest historical Art pieces
TWENT Y 19
-1-
-2-
Art Direction Mahmoud Reeche Text and Information www.wikipedia.org Images (see Information) “Dieser Artikel ist nur für persönliche Nutzung. Bitte nicht teilen oder verkaufen”
-I-
____________________________________________ Artist: Pablo Picasso Medium: oil on canvas Description: La Vie Place of creation: Amsterdam Date: 1903 Source/Photographer: http://www.wikipaintings. org/en/pablo-picasso/life-1903
- II -
LA VIE La Vie (Zervos I 179) is a 1903 oil painting by Pablo Picasso. It is widely regarded as the pinnacle of Picasso’s Blue Period.
ing sold only a month after it was finished, to a French art dealer, Jean Saint Gaudens. The sale was reported in the Barcelona newspaper, Liberal. With La Vie Picasso repainted the canvas of The derniers Moments from 1899, a painting that he had presented at the Paris International Exhibition 1900.
La Vie (The Life) was painted in Barcelona in May 1903. It is 196.5 by 129.2 centimetres (6.45 ft × 4.24 ft) and portrays two pairs of people, a naked couple confronting a mother bearing a child in her arms. In the background of the room, apparently a studio, there are two paintings within the painting, the upper one showing a crouching and embracing nude couple, the lower one showing a lonesome crouching nude person very similar to Sorrow by Vincent Van Gogh. With this Picasso repainted another motif, a birdsman who attacks a reclining naked woman, traces of which are visible to the naked eye. Preparatory studies are: Private collection, Zervos XXII 44; Paris, Musée Picasso, MPP 473; Barcelona, Museu Picasso, MPB 101.507; Barcelona, Museu Picasso, MPB 101.508.
The painting was given by the Hanna fund to the Cleveland Museum of Art, Ohio in 1945 and is in their permanent collection
It was painted at a time when Picasso was having no financial success. In contrast, the new paint-
- III -
____________________________________________ Artist: Rembrandt van Rijn Medium: oil on canvas Subject: Lisa Gherardini Place of creation: Amsterdam Date: between 1665 and 1669 Source/Photographer: www.rijksmuseum.nl Rembrandt [Public domain]
- IV -
SELF-PORTRAIT WITH TWO CIRCLES Self-Portrait with Two Circles is an oil on canvas painting by the Dutch artist Rembrandt, painted c. 1665–1669, one of over 40 painted self-portraits by Rembrandt.
Unlike other late self-portraits, in Self Portrait with Two Circles, Rembrandt, with one hand on his hip, appears confrontational and even defiant. The impression is that of a master solemnly asserting his genius.
In the portrait, Rembrandt holds his palette, brushes, and maulstick. The painting is notable for its monumentality and the enigmatic background consisting of a shallow space with the fragments of two circles.
The meaning of the background has generated much speculation. The flat surface behind Rembrandt has been interpreted as either a wall or stretched canvas. Among the theories explaining the significance of the arced lines is that they are drawn on a wall, or that they represent hemispheres in a map of the world, a common design feature of Dutch homes.
Self Portrait with Two Circles is one of more than 40 self-portraits Rembrandt painted (as well as a similar number in other media) and one of a number of depictions in several media dating at least from 1629 that show him at work drawing, etching, or painting. He wears a fur-lined robe, beneath which is a red garment. On his head is a white hat, similar to that worn in several other late self-portraits.
-V-
____________________________________________ Artist: Leonardo da Vinci Author: Leonardo da Vinci Medium: Oil on poplar panel Subject: Lisa Gherardini Location: The Louvre Museum, Paris Date: between 1503 and 1506 Source/Photographer: https://pixabay.com/de/photos/mona-lisa-leonardo-da-vinci-74050/
- VI -
MONA LISA La Joconde is a half-length portrait painting by the Italian Renaissance artist Leonardo da Vinci that has been described as “the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.” The Mona Lisa is also one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known insurance valuation in history at US$100 million in 1962 (equivalent to $650 million in 2018).
The subject’s expression, which is frequently described as enigmatic, the monumentality of the composition, the subtle modelling of forms, and the atmospheric illusionism were novel qualities that have contributed to the continuing fascination and study of the work.
A version of the Mona Lisa known as the Isleworth Mona Lisa and also known as the Earlier Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci’s Mona Lisa. The painting is claimed by a majority of experts to be mostly an original work of Leonardo dating from the early 16th century.
The painting is thought by many to be a portrait of Lisa Gherardini, the wife of Francesco del Giocondo, and is in oil on a white Lombardy poplar panel. It had been believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. Recent academic work suggests that it would not have been started before 1513. It was acquired by King Francis I of France and is now the property of the French Republic, on permanent display at the Louvre Museum in Paris since 1797.
- VII -
1 4 8
1
2
5 8
Ginevra de’ Benci, a well-known young
Florentine woman, is universally considered to painted be the portrait’s sitter. the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra’s marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage. Wedding portraits , with the traditionally were created in woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.
Leonardo
Pairs
- IX -
____________________________________________ Artist: anonymous Object type: sculpture / statue Genre: ‘Ain Ghazal Statues Collection: The Louvre Museum, Paris Date: 7th millennium BC Medium: plaster, asphalt Source/Photographer: Louvre Museum [CC BY-SA 2.0 fr (https://creativecommons.org/licenses/bysa/2.0/fr/deed.en)]
-X-
AĂ?N GHAZAL The Ain Ghazal Statues are a number of monumental lime plaster and reed statues dated to the Pre-Pottery Neolithic C period have been discovered in Jordan, at the site of Ayn Ghazal. A total of 15 statues and 15 busts were discovered in 1983 and 1985 in two underground caches, created about 200 years apart.
They are all part of the collection of the Jordan Museum in Amman, but some have been loaned elsewhere, or sent for conservation. One statue is in the Louvre Museum in Paris. One of the figures with two heads in on show in the Louvre Abu Dhabi. Two statues were being conserved in the British Museum in London in 2013.
Dating to between the mid-7th millennium BC and the mid-8th millennium BC, the statues are among the earliest large-scale representations of the human form, and are regarded to be one of the most remarkable specimens of prehistoric art from the Pre-Pottery Neolithic B or C period. Some earlier human statues are known from Upper Mesopotamia, such as the Urfa Man.
The figures are of two types, full statues and busts. Some of the busts are two-headed. Great effort was put into modelling the heads, with wide-open eyes and bitumen-outlined irises. The statues represent men, women and children; women are recognizable by features resembling breasts and slightly enlarged bellies, but neither male nor female sexual characteristics are emphasized, and none of the statues have genitals, the only part of the statue fashioned with any amount of detail being the faces.
Although it is held that they represented the ancestors of those in the village, their purpose remains uncertain.
- XI -
____________________________________________ Description: Gros plan de la statue de la victoire. Year: c. 200–190 BC Genre: Parian marble Collection: The Louvre Museum, Paris Dimensions: 244 cm (96 in) Source/Photographer: https://pixabay.com/de/ photos/winged-sieg-von-samothrace-gefl%C3%BCgelt-1233621/
- XII -
WINGED VICTORY OF SAMOTHRACE Also called the Nike of Samothrace, that was created in about the 2nd century BC. Since 1884, it has been prominently displayed at the Louvre and is one of the most celebrated sculptures in the world. H.W. Janson described it as “the greatest masterpiece of Hellenistic sculpture”, and it is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.
and Parian marble, the figure originally formed part of the Samothrace temple complex dedicated to the Great gods, Megaloi Theoi. It stood on a rostral pedestal of gray marble from Lartos representing the prow of a ship (most likely a trihemiolia), and represents the goddess as she descends from the skies to the triumphant fleet. Before she lost her arms, which have never been recovered, Nike’s right arm is believed to have been raised, cupped round her mouth to deliver the shout of Victory. The work is notable for its convincing rendering of a pose where violent motion and sudden stillness meet, for its graceful balance and for the rendering of the figure’s draped garments, compellingly depicted as if rippling in a strong sea breeze. Similar traits can be seen in the Laocoön group which is a reworked copy of a lost original that was likely close both in time and place of origin to Nike, but while Laocoön, vastly admired by Renaissance and classicist artists, has come to be seen[by whom?] as a more self-conscious and contrived work, Nike of Samothrace is seen as an iconic depiction of triumphant spirit and of the divine momentarily coming face to face with man.
The statue is 244 centimetres (8.01 ft) high. It was created not only to honour the goddess, Nike, but probably also to commemorate a naval action. It conveys a sense of action and triumph as well as portraying artful flowing drapery, as though the goddess were descending to alight upon the prow of a ship.
Modern excavations suggest that the Victory occupied a niche above a theater and also suggest it accompanied an altar that was within view of the ship monument of Demetrius I Poliorcetes (337– 283 BC). Rendered in grey and white Thasian
- XIII -
____________________________________________ Artist: Unknown. Year: between 2600 and 2350 BC Object type: statue / archaeological artifact Collection: The Louvre Museum, Paris Dimensions: Height: 53.7 cm (21.1 ″); Width: 44 cm (17.3 ″); Thickness: 35 cm (13.7 ″) Source/Photographer: Rama [CC BY-SA 3.0 fr (https://creativecommons.org/licenses/by-sa/3.0/fr/ deed.en)]
- XIV -
THE SEATED SCRIBE The sculpture of the Seated Scribe or Squatting Scribe is a famous work of ancient Egyptian art. It represents a figure of a seated scribe at work. The sculpture was discovered at Saqqara, north of the alley of sphinxes leading to the Serapeum of Saqqara, in 1850 and dated to the period of the Old Kingdom, from either the 5th Dynasty, c. 2450–2325 BCE or the 4th Dynasty, 2620–2500 BCE. It is now in the Louvre Museum in Paris.
sculpture are delicately modeled. The hands are in writing position. It seems that the right hand was holding a brush, now missing. The body is sturdy with a broad chest. The nipples are marked with two wooden stubs.
The sculpture of the seated scribe was discovered in Saqqara on 19 November 1850, to the north of the Serapeum’s line of sphinxes by French archeologist Auguste Mariette. The precise location remains unknown, as the document describing these excavations was published posthumously and the original excavation journal has been lost.
It is a painted limestone statue, the eyes inlaid with rock crystal, magnesite (magnesium carbonate), copper-arsenic alloy, and nipples made of wood.
This painted limestone sculpture represents a man in a seated position, presumably a scribe. The figure is dressed in a white kilt stretched to its knees. It is holding a half rolled papyrus. Perhaps the most striking part aspect of the figure is its face. Its realistic features stand in contrast to perhaps more rigid and somewhat less detailed body. Hands, fingers, and fingernails of the
- XV -
Thanks for Watching
Contact: Name: Mahmoud Reeche E-Mail: reechegrafik@gmail.com